The Women Of Bossa Nova: Volume One

The popularity of Bossa nova during the Fifties lead to its amazing popularity during the Sixties when seismic changes in pop music involved groups like The Beatles, Beach Boys etc. who edged out many established vocalists. However, they fought back and one way was to record albums with a Latin beat and particularly in bossa nova style which in Portuguese means “new trend”However, the four ladies in this collection were way ahead with the new beat before many American singers and musicians grabbed their share. My attraction to this collection is my long-time admiration for Caterina Valente who of European descent and an international star, contrasts with the other three (Alaide Costa/Maysa/Dolores Duran), who were unknown to me but are the real Brazilian deal.It has to be admitted that listening to these selections made me realise the “bossa nova” label is loosely given as many ballads permeate their between-tracks placing with the various sambas etc. and overall are just as pleasurable with thoughts of Brazilian sand, sea and sunshine always to the fore when appreciating the vocal renderings of all four vocalists.

In 1959 the soundtrack of the film „Black Orpheus“ made Bossa Nova popular all over the world. Caterina Valente recorded two songs of that masterpiece and became, very early, one of the leading Ladies of Bossa Nova.Unfortunately, a compilation of Valentes most important Bossa Nova recordings was - and is - still missing, up to now. Where are Caterinas brilliant versions of „The boy from Ipanema“, „Desafinado“, „Dindi“, „Canto de Ossanha“, the songs from „Black Orpheus“ and, at least, one track from the legendary album that Valente recorded with Bossa icon Luiz Bonfà?The Valente part of this Bossa Nova compilation is brilliant latin music - but a competent Bossa Nova compilation is still missing.Juergen Burwiek